Dean Papoutsis
Member
I am a 55 year old novice/hobbyist indie film maker. My goal is create a quality, film-like, sci-fi short for a local film festival requiring a Digibeta submission. I'd like to lock-down my workflow in a cheat sheet, make a few test projects to confirm I know what I am doing, then go for it.
From reading Stu Maschwitz's, The DV Rebel’s Guide 2007, I got the take home message to not EVER allow the NLE to recompress anything.
[“Four Rules” to extract the best possible image quality out of footage . . .
(“No mastering in the NLE, No Recompression, No 8-bit Processing, No Scaling Up or Down”)]
The author recommends retrieving luminance information from YCrCb video files and then picking a lossless output format such as TIFF (lossless compression).
1. Not sure I get this, but does his recommendation make sense for the HMC-150 and FCP 7?
2. Can anyone confirm the workflow below will generate something close to the above and output that gets the most possible quality out of the HMC-150 source file? [Must I do that luminance step?]
3. What do I give to the Digibeta production house?
4. Will the Intermediate codec require rendering/recompressing for simple edits like dissolves, etc.? Does every "render" result in recompression?
Acquisition (HMC-150)
PH 1080 24P Cine D
Editing Intermediate Codec (FCP, 7 2x2.66 GHz Quad-Core, 12 GB RAM)
Seq Preset: Apple ProRes 422 (HQ) 1920x1080 24P 48 kHz
Cap Preset: HDV Apple ProRes 422 (HQ)
Dev Cont Preset: Non-Controllable Device
Video Playback: Digital Cinema Desktop Preview – Main
Audio Playback: Default
Output (File generated by Compressor, placed on DVD or hard drive then given to Tape Production House?)
X? goes to Digibeta
A million thanks,
Dean
From reading Stu Maschwitz's, The DV Rebel’s Guide 2007, I got the take home message to not EVER allow the NLE to recompress anything.
[“Four Rules” to extract the best possible image quality out of footage . . .
(“No mastering in the NLE, No Recompression, No 8-bit Processing, No Scaling Up or Down”)]
The author recommends retrieving luminance information from YCrCb video files and then picking a lossless output format such as TIFF (lossless compression).
1. Not sure I get this, but does his recommendation make sense for the HMC-150 and FCP 7?
2. Can anyone confirm the workflow below will generate something close to the above and output that gets the most possible quality out of the HMC-150 source file? [Must I do that luminance step?]
3. What do I give to the Digibeta production house?
4. Will the Intermediate codec require rendering/recompressing for simple edits like dissolves, etc.? Does every "render" result in recompression?
Acquisition (HMC-150)
PH 1080 24P Cine D
Editing Intermediate Codec (FCP, 7 2x2.66 GHz Quad-Core, 12 GB RAM)
Seq Preset: Apple ProRes 422 (HQ) 1920x1080 24P 48 kHz
Cap Preset: HDV Apple ProRes 422 (HQ)
Dev Cont Preset: Non-Controllable Device
Video Playback: Digital Cinema Desktop Preview – Main
Audio Playback: Default
Output (File generated by Compressor, placed on DVD or hard drive then given to Tape Production House?)
X? goes to Digibeta
A million thanks,
Dean